The Old Man’s Secret Code

As a lover of thought-provoking television shows that delve deep into complex geopolitical landscapes while maintaining a nuanced and non-judgmental perspective, I find “The Old Man” to be a refreshing gem in today’s entertainment scene. Having spent years studying the intricacies of international relations, it’s rare to come across a series that not only tackles sensitive subjects like the Soviet invasion of Afghanistan but also does so with such depth and subtlety. The characterizations are rich, and the portrayal of different Afghan factions as having diverse agendas, ideologies, and lifestyles is commendable.

Are you someone who finds standing up from your couch challenging due to discomfort? Then you might find a connection with “The Old Man,” a visually stunning spy thriller that is back for its second season this week. Developed by Jonathan E. Steinberg and Robert Levine, the show focuses on Dan Chase (Jeff Bridges), an ex-CIA agent who appears to be living a content family life but is still grieving the loss of his wife, Abbey (Hiam Abbass). However, his peaceful existence is disrupted when a dark chapter from his violent past resurfaces and attempts to take his life. This event pulls him back into the world of international espionage, where he reconnects with an old handler, Harold Harper (John Lithgow), while his daughter, Emily (Alia Shawkat), and a civilian, Zoe McDonald (Amy Brenneman), become increasingly involved in the storyline. Essentially, it’s your typical spy drama.

The narrative deviates from traditional norms as ‘The Old Man’ becomes increasingly elaborate with each installment. As the initial season progresses, it is revealed that Emily assumes a double identity – as FBI agent Angela Adams and the secret biological daughter of Afghan warlord Faraz Hamzad (Navid Negahban). Hamzad has been engaged in a longstanding blood feud with Chase due to his betrayal, which included the theft of both Hamzad’s wife and daughter many years ago. The plot thickens with complications, conspiracies, and thrilling brawls, culminating in Chase and Harper’s departure for Afghanistan at the end of season one, in pursuit of Emily/Angela, who set off to uncover the truth about her past.

The Old Man is an unusual television series. While it shares some similarities with a soap opera featuring elderly men and firearms, its innovative, intriguing decisions set it apart from the ordinary, making it hard to categorize as conventional. Whether you find it appealing largely depends on whether you resonate with its distinctive vibe. Although the second season is generally less compelling than the first – swapping the initial tight narrative for more elaborate melodrama – the show’s distinct characteristics continue to shine through. This admiration stems from the unique stylistic and storytelling quirks that elevate it far beyond a typical spy thriller.

Textural Weirdness

Viewing “The Old Man” may leave you feeling somewhat disoriented. The dialogue feels stiff, and the overall presentation gives an impression that every main character is harboring tens of thousands of emotions. At times, it seems as though the show has been translated into Swedish and then back to English again, resulting in a fluctuating tone. It vacillates between a raw, FX-style portrayal of spy thrillers and an expansive family saga examining life choices near the end and the questionable nature of U.S. foreign policy. In certain scenes, it moves at a painstakingly slow pace; only to suddenly catch your attention as numerous plot twists and disclosures have slipped by unnoticed, making you feel as if you’re watching an entirely different program.

At some point, you may question whether this series is poor, but then ‘The Old Man’ offers a rich tapestry of enjoyable, intricate details – such as the character drinking butter-laced coffee, Zoe’s picturesque woodland home, and the sickly yellow ambiance of FBI headquarters. This show may be described as a “cilantro” series, and if its distinctive flavor resonates with you, there’s an undeniable power in the way all its elements coalesce. – Nicholas Quah

Glorious Speechifying

The standout aspect of “The Old Man” that sets it apart – more so than the extended action scenes, Lithgow’s subtle frown, or Bridges’s labored groans – is its emphasis on monologues. Oh, the monologues! If you found yourself yearning for the eloquent speeches of Don Draper on “Mad Men” or the introspective dialogues of Elliot Alderson on “Mr. Robot”, then “The Old Man” will fulfill your craving for captivating conversation. This series is notably verbose, and this is due to the fact that “The Old Man” delves deeply into the characters’ motivations rather than their actions, making it less predictable as a spy-themed show.

As a devoted admirer, I’d like to share my thoughts on “The Old Man” – a series that delves deeply into the reasons why we spin tales and the comfort they provide, even after actions as extraordinary as raising another man’s daughter (Chase) or being entangled in a vast government conspiracy (Harper), or venturing globally to seek answers about a mother you barely knew (Emily). This intellectual exploration is all the more captivating with acting talents like Bridges, Lithgow, and Shawkat bringing their monologues to life. Although Abbass is sorely missed in season two, Negahban steps up impressively as the weary Hamzad. Swapping one great actor for another? I’m more than willing to make that trade! — Roxana Hadadi

Being Old Is Tough …

In a refreshing take on action series, “The Old Man” presents an elderly protagonist, portrayed by Clint Eastwood-like actor Kevin Bacon, whose aging process isn’t merely for comic relief but rather a realistic depiction of life’s progression, similar to the changing seasons. Bacon skillfully embodies his character’s advanced age on screen, groaning, shuffling with creaky legs, and displaying the unique open-mouthed expression common among men of his age. Despite moments that strain credulity, such as Chase enduring physical feats that would require a 30-year-old months to recover from, it’s important to remember this is a fictional TV show.

… But Also Kind of Badass …

On the series The Old Man, there are several exhilarating action scenes that are delightfully tactile and captivating to behold. The opening episode features two memorable sequences that establish its unique aesthetic: a home invasion that sets the story in motion, followed by a thrilling car chase ending in a grueling brawl. These scenes exemplify the show’s knack for extending physical action to near-exaggerated lengths while enveloping them in moody settings. The home invasion is predominantly filmed in shadow (as you can see above), while the fight at the end of the car chase unfolds under the red glow of the vehicle’s brake light, showcasing Chase engaged in a prolonged, exhausting battle with his younger adversaries. It’s astonishing to witness Kevin Costner convincingly execute these physical confrontations, considering he was battling non-Hodgkin’s lymphoma during filming and was even hospitalized after contracting COVID while receiving chemotherapy during the first season’s production. In an interview with Variety in 2022, Costner shared that he felt as though he might die during this period. He returned to set five months later, and it’s chilling to rewatch the first season knowing these details. The second season continues to provide Costner with ample opportunities for fighting, although these scenes are less drawn-out than before. However, they remain no less impressive. — NQ

… and Sweet

Despite its tense action and political drama, The Old Man unexpectedly nurtures a tender bond between Chase and Zoe McDonald (Amy Brenneman), a character who unwittingly becomes entangled in his world. I’m a fan of shows and films that delve into romantic relationships between older individuals. While The Old Man doesn’t exactly revolutionize the pairing – Zoe’s role isn’t particularly expansive, and Chase frequently cautions her against his violent lifestyle – the on-screen chemistry between Jeff Bridges and Amy Brenneman is commendable, providing a touch of balance to a series that often teeters on the edge of excessive gloom. – NQ

Women!!!

As a film enthusiast, I can’t help but express my enthusiasm in a Saoirse Ronan-esque triumphant tone for “The Old Man.” This series is packed with moments that make me pump my fist as if I were watching Jo March shatter stereotypes about women. It seems almost ironic that the title suggests otherwise, because it’s the powerful female characters who are truly driving the narrative forward.

Heroes Who Are Also Villains, Villains Who Are Also Heroes

The character of “The Old Man” is complex and resists simple categorization. Characters like Chase and Harper are portrayed as ‘good’ individuals who commit questionable acts; Abbey initially appears as a damsel in distress but transforms into a formidable femme fatale; Hamzad, an Afghan warlord, becomes monstrous due to the actions of these same ‘good’ men and damsel in distress. This is typical of anti-hero narratives, yet “The Old Old Man” stands out by displaying remarkable empathy towards its Middle Eastern characters, a rarity in shows of this genre.

A Depiction of American Foreign Policy That Doesn’t Make Me Want to Groan (Yet)

In relation to the character development in “The Old Man,” it’s significant that while the show explores political agendas like the Soviet invasion of Afghanistan and the American support of the Afghan resistance against the Taliban, it avoids portraying a simplistic narrative of good Americans versus bad Afghans. The series never endorses interventionism; instead, the events surrounding Chase and Harper in Afghanistan are fraught with complications. Moreover, throughout both seasons, various Afghan factions have diverse agendas, beliefs, and lifestyles, and they’re not stereotyped as terrorists or fanatics.

The Opening Illustrations

In another captivating aspect, the character of “The Old Man” offers intriguing perspectives on its storytelling ground, as seen in the opening visuals crafted by British-Iranian artist Hana Shahnavaz. Known for her paintings based on Iranian folklore, Shahnavaz has designed stunning, vibrant, and detailed images for each episode, reminiscent of Persian miniatures. These pictures feature jackals, inspired by the characters from a 2nd-century fables book, “Kalīlah and Dimnah,” embarking on an epic voyage. They are depicted under trees, among flowers, and enclosed by geometric patterns typical in Islamic art, where they encounter scorpions, are guided by hawks, and explore caves. Shahnavaz mentioned that the producers requested her to embed clues within these miniatures. While some viewers may delve into them for hidden insights, even without treating them as puzzles, these illustrations provide an engaging introduction to each episode. – RH

The Good Boy and Girl

In addition to the title character, “The Old Man” series includes Dave and Carol, Chase’s energetic dogs who were frequently by his side throughout the first season. They acted as protective companions against various antagonists. Though they seemed less prominent at the start of the second season, rest assured they make a comeback later on. (We can’t get enough of them here!)

2024-09-12 19:54